Pan snare rolls left and right for stereo width
Problem: narrow, flat snare rolls
Panning snare rolls left and right adds stereo width and spatial interest to the track. This technique helps the snare rolls sit better in the mix and prevents them from sounding too centered or monotonous. The speaker…
Use pancake two on reverb to add movement
Problem: static reverb, lack of movement
Adding pancake two to the reverb channel introduces subtle movement and spatial variation by modulating the reverb's characteristics. This technique allows the reverb to shift between channels, creating a more dynamic…
Use multiple guitar tracks for width and punch
Problem: narrow, flat guitar sound
Using multiple guitar tracks, especially with different amp tones, helps create a wider and more dynamic sound. This is especially useful in rock and metal genres where a punchy, wide guitar sound is desired. By layering…
Use stereo slap delay for higher arousal and presence
Problem: dry signal lacks presence and punch
A stereo slap delay with a single repetition on the left and right channels can increase the 'arousal' of a track by making it feel more present and upfront. This technique is useful for adding punch and immediacy to a…
Use mono delay in the center for adding air and wetness
Problem: mix lacks air and emotional engagement
A mono delay placed in the center of the mix can add a sense of 'air' and wetness, even though delays are typically associated with drier sounds. This technique is useful for adding subtle character and space to a mix,…
Use a saw wave with unison detuning for a wide synth sound
Problem: thin or flat synth sound
Using a saw wave with unison detuning (7 voices) creates a rich, wide synth sound. This technique is commonly used in electronic music to add depth and fullness to a synth patch. The unison detuning spreads the notes…
Use chorus for subtle movement and width
Problem: synth lacks movement or width
Adding a chorus effect can introduce subtle movement and width to the synth, making it feel more dynamic and spatial. This is a common technique in melodic techno and house to add a sense of motion and depth to the…
Apply a dynamic EQ in the sides at 8K–10K to enhance stereo width in the top end
Problem: stagnant or narrow top end
Using a dynamic EQ in the stereo sides at 8K–10K allows you to enhance the stereo width of the top end only when there are signals present. This creates a more open and bouncy top end without adding unnecessary noise or…
Use a dynamic EQ in the sides to add movement to the top end without over-processing
Problem: stagnant top end
A dynamic EQ in the sides can be used to add subtle movement to the top end by only activating when there are stereo elements present. This technique avoids over-processing the entire mix and instead enhances the stereo…
Use a combination of EQ techniques to achieve a tight low end and open top end
Problem: lack of balance between low and high end
Combining a mono low end with an open, dynamic top end using EQ can create a more balanced and professional-sounding mix. This approach is especially effective in dance music, where a tight low end and a wide, open top…
Use a dynamic EQ in the sides to lift the level of stereo elements when they're present
Problem: lack of stereo width in the top end
By using a dynamic EQ in the stereo sides, you can lift the level of stereo elements only when they are playing. This technique subtly increases the perceived width of the track without over-amplifying the sides when…
Pan background vocals to create stereo width and leave space for lead
Problem: muddy vocal arrangements
Spreading background vocals across the stereo field (some wide, some centered) prevents masking the lead vocal. This technique uses an imager for precise panning adjustments, ensuring the lead and vocal chops remain…
Apply a high shelf on the sides for stereo width
Problem: narrow stereo image
Boosting high frequencies (3-5kHz) in the side channels using a mid-side EQ creates a wider stereo image without affecting the center (vocals, kick). This results in a 'tulip shape'—tight at the bottom (low end) and open…
Use chorus for thickness and stereo width in mixing
Problem: thin or weak frequency elements
Chorus adds harmonic thickness and stereo width by modulating the signal, making thin elements sound more present. It’s a tonal enhancement tool rather than a creative effect, often used on leads and pads to carve space…
Use mid-side processing to enhance stereo width
Problem: narrow stereo image, lack of separation
Splitting audio into mid (center) and side (stereo) components allows targeted processing of panned elements without affecting the central elements like kick, snare, or vocals. This technique enhances stereo imaging by…
Three-dimensional mix perception through processing
Processing like transient shaping and reverb creates a sense of depth and width in the mix. This concept shifts thinking from 'just making it loud' to sculpting spatial relationships between elements. It's foundational…
Pan elements to LCR for stereo width and clarity
Problem: muddled stereo image from overlapping panned elements
The producer uses a left-center-right panning strategy to create space between elements. This prevents masking and allows each sound to occupy its own stereo position. Panning is especially important for vocals…
Set stereo imager to maximum for binaural width
Problem: narrow, flat stereo image
Using a stereo imager plugin and setting it to maximum width creates a more immersive, binaural-like experience. This enhances the sense of space and makes the mix feel more three-dimensional. The technique is especially…
Use convolution reverb as a stealth stereo wideener
A short impulse response (like 'Thin Room Two') can widen a sound without adding obvious reverb. Set the reverb to fully wet but reduce the decay time (K to 20%) to avoid a long tail. This technique subtly increases…
Use rhythmic auto-panning with custom LFO shapes for dynamic stereo movement
Apply auto-panning via an LFO (e.g., 50% mix amount) to create rhythmic stereo movement. Use Shaper Box's Pan Shaper to draw custom panning curves (e.g., stepped patterns with smooth edges) for precise control. Adjust…
Add multi-band treble reverb before pan shaper for air and stereo cohesion
Use multi-band treble reverb (focused on high frequencies) before applying pan shaper to add stereo 'air' without muddying the low-end. This ensures rhythmic panning doesn't compromise the sound's solidity in mono. The…
Balance stereo width and mono level by adjusting width and volume
When widening a sound in stereo, it will appear quieter in mono. To compensate, reduce the stereo width (e.g., from 100% to 65%) and increase the volume (e.g., +6.5dB) to maintain perceived loudness. This is critical for…
Use delay under 40ms for stereo widening
Problem: phase cancellation in mono
Delays over 40ms create an echo effect, while delays under 40ms produce a wide stereo image. However, this causes phase cancellation in mono. Shorter delays (15ms or less) reduce phase issues by minimizing waveform…
Use multi-band stereo tilting to balance width
Problem: lopsided stereo image
Tilt mid-range and treble bands to opposite sides (e.g., mid-right, treble-left) and reduce overall width. This creates a balanced stereo image that remains coherent in mono. Combining with a width control allows precise…
Avoid using Hars effect on lead vocals
Problem: unnatural vocal imaging
The Hars effect (hard panning with delay) can make lead vocals sound unnatural due to phase issues and lopsided stereo imaging. It's better suited for non-vital elements like ambient textures or background pads where…
Use restraint with stereo effects for contrast
Problem: loss of focus from excessive width
Keep most elements centered and apply stereo widening to only one standout sound. This creates contrast that makes the mix pop in both mono and stereo. Overusing wide effects can dilute the impact of individual elements.
Use stereo imaging to place chords in the center and drones on the sides
Problem: cluttered stereo image, lack of separation
Positioning chords in the stereo center ensures clarity and focus, while placing drones on the sides adds spatial width without clashing. This technique helps separate elements in the mix, making the arrangement feel…
Use mono voicing for plucky bass to maintain clarity
Problem: plucky bass loses clarity in stereo
Setting the bass to mono (instead of stereo) prevents phase issues and ensures the plucky elements remain punchy and focused. This is especially important for short, percussive bass notes that need to cut through the mix…
Boost the sides in mid-side processing to add air and space to hats
Problem: hats sound flat or lifeless
Using mid-side EQ to boost the side channels slightly enhances the stereo width and high-frequency presence of hats. This technique adds 'air' and spatial depth, making hats sound more expansive and less 'cheap.' The…
Mistake: Overusing stereo width for core elements
Problem: phase issues, weak core elements
Kick, snare, vocals, and lead synths should have central stereo positioning for clarity. Overusing stereo width on these elements creates phase issues and weakens their impact. Use stereo width for ambient elements only.
Use stereo width without throwing elements out of balance
Problem: flat mix, unstable stereo image
Panning shakers to extreme left/right and using auto-pan on 16th hats adds width, but keeping kick, bass, and main leads centered maintains stability. This prevents the mix from feeling unstable or chaotic. The technique…
Contrast stereo width between dry and wet sections
Problem: flat transitions, lack of spatial interest
Wet delay/reverb sections are subtly widened compared to dry sections, creating a perceptual contrast that guides the listener through transitions. This technique leverages psychoacoustic cues (wider = more distant,…
Add stereo width for spatial interest
Increase stereo width on the bass part to give it more presence in a mix.
Panning guitars, claps, and background vocals to the sides creates a wider stereo image
Problem: narrow mix, muddled center
Keeping the kick, bass, and lead vocals centered ensures clarity and impact while using side elements for spatial interest. This approach prevents muddiness in the center and allows the mix to breathe. The technique is…
Use stereo imaging to create width and depth
Problem: narrow, flat mix
Doubling tracks (e.g., two slightly detuned guitar takes) and panning them left/right creates a wider stereo image. This technique adds spatial interest and makes the mix feel more immersive. It’s particularly effective…
Boost highs on sides in mid-side mode for stereo widening
Problem: narrow stereo image, lack of air in high frequencies
Using a plugin in mid-side mode, boosting high frequencies on the sides adds stereo width without phasing. This technique enhances the sense of space in the mix by emphasizing ambient elements and high-frequency details.…
Use mid-side processing to increase side channels incrementally
Problem: overly narrow or phase-ambiguous stereo image
The speaker recommends using mid-side plugins to boost side channels (e.g., setting to 150%) for controlled stereo widening. This avoids over-processing by allowing precise adjustments. It’s particularly useful for…
Avoid excessive stereo widening without context
Problem: overprocessed stereo image, loss of clarity
The speaker warns that overusing stereo widening plugins can lead to an unnatural or 'smeared' sound. They demonstrate that even a 150% boost on sides can be too much if not balanced with reference tracks. This mistake…
Use low percentage values for subtle thickening/warming
Problem: Lack of presence or body in a track element
At low settings (e.g., 50-100%), Bandwidth adds subtle thickness and warmth to the original signal without extreme stereo widening. This is useful for enhancing presence without disrupting the mix's balance. The effect…
Use high percentage values (100-150%) for doubling effect
Problem: Need for more stereo separation or spatial interest
Pushing Bandwidth to 100-150% creates a doubling effect, making the sound appear as if it's being played by multiple sources. This is ideal for adding stereo width to elements like leads, arpeggios, or rhythmic elements.…
Use extreme settings (>150%) for creative, wide-than-headphones effects
Problem: Need for unconventional spatial effects or creative experimentation
Beyond 150%, Bandwidth creates an effect that sounds wider than standard stereo imaging, even surpassing physical speaker limitations. This is a creative tool for adding surreal spatial effects to tracks. Best used…
Process specific frequency bands for tailored stereo widening
Problem: Over-processing or lack of control over stereo widening
Bandwidth splits the signal into low-mid and high bands, allowing users to apply widening selectively. For example, reinforcing low-end sub frequencies for more punch, enhancing mids for stereo imaging, or widening highs…
Adjust filter width to balance stereo imaging and focus
Problem: phasey or unclear stereo image
Setting the filter width to 100% on the lower oscillator layer creates a centered, punchy foundation, while leaving the upper layers wider for stereo spread. This prevents the lead from becoming phasey or losing its…
Adjust stereo width using span and monitor correlation meter
Problem: lead too wide or phasey
Using the width control in Serum 2 with the span parameter allows precise stereo imaging adjustments. The speaker emphasizes checking the correlation meter to ensure the lead doesn't become too wide or phasey. This…
Reduce width to maintain correlation meter balance
Problem: correlation meter instability
Lowering the stereo width of a trance lead helps prevent the correlation meter from dropping too low, which can indicate phase issues or excessive stereo spread. The speaker demonstrates how adjusting width ensures the…
Adjust stereo width via signal output instead of oscillators
Problem: inconsistent stereo imaging, lack of control over width
Controlling stereo width through the signal output rather than individual oscillators gives more precise control over the entire effects stack. This approach allows for smoother transitions and better cohesion in the…
Pan and detune oscillators for stereo width
Problem: Increasing stereo imaging
Panning oscillators to opposite sides of the stereo field and slightly detuning them increases stereo width and creates a richer, more immersive sound. This technique is effective for adding spatial depth to leads, pads,…
Pan claps left/right to create width
Problem: narrow percussion, lack of stereo interest
Layering two claps and panning them opposite directions adds stereo width without losing mono compatibility. The main clap stays centered for punch, while the secondary clap adds spatial interest. This technique is…